Robert Vickrey's unique vision and meticulous, painstaking technique have sustained him throughout a sixty-year career. He is widely considered to be a living master of using egg tempera, the same labor-intensive medium used by Renaissance painters, including Giotto and Cennini. But Vickrey's concerns are distinctly twentieth-century in the subjects and themes he has chosen, from childhood innocence to the dichotomy of urban versus country living. "A quintessential Realist, Vickrey endeavoured to explore the human condition within a distinctively American environment," writes author Philip Eliasoph, whose essay argues that Vickrey's work builds a bridge from Surrealism and New Objectivity to Magic Realism. Described by the New York Times as the "world's most proficient craftsman in tempera painting, [and] an immaculate technician," Vickrey's oeuvre is the "fiercely independent work of one of its most unorthodox and even most daring inventors," according to Eliasoph. AUTHOR: Philip Eliasoph is a professor of art history at Fairfield University. Virginia M.Mecklenburg is Senior Curator of the Smithsonian American Art Museum in Washington, D.C. SELLING POINTS: A comprehensive survey of the 60 year career of a master of tempera painting, an artist who has been included in nine Whitney Museum of American Art Annual Exhibitions 80 color plates show off the brilliant light-infused compositions of Vickrey's paintings Includes scholarly essays placing Vickrey in the context of the twentieth-century American art 128 colour & 43 b/w illustrations

Tempera painting, the method in which colors are mixed with some binding material other than oil (primarily egg yolk), is the earliest type of painting known to man. The wall paintings of ancient Egypt and Babylon are tempera, as are many of the paintings of Giotto, Lippi, Botticelli, Raphael, Titian, Tintoretto, and many other masters. But in spite of the time-proven excellence of this technique — which boasts many clear advantages over oil paint — it does not receive the degree of attention from modern painters that it deserves. Part of the explanation for this neglect, surely, is the absence of sufficient information about the materials and procedures involved in tempera painting. The present volume, in fact, is virtually the only complete, authoritative, step-by-step treatment of the subject in the English language, D.V. Thompson wrote this book after an exhaustive study, over many years, of countless medieval and Renaissance manuscripts in the British Museum and elsewhere, and is unquestionably the world's leading authority on tempera materials and processes. Beginning with an introductory chapter on the uses and limitations of tempera, the author covers such topics as the choice of material for the panel; propensities of various woods; preparing the panel for gilding; making the gesso mixture; methods of applying the gesso; planning the design of a tempera painting; use of tinted papers; application of metals to the panel; tools for gliding; handling and laying gold; combination gold and silver leafing; pigments and brushes; choice of palette; mixing the tempera; tempering and handling the colors; techniques of the actual painting; mordant gilding; permanence of tempera painting; varnishing; and artificial emulsion painting. The drawings and diagrams, illustrating the various materials and techniques, infinitely increase the clarity of the discussions. As a careful exposition of all aspects of authentic tempera painting, including many of the possible modern uses for this ancient method, this book actually stands alone. No one who is interested in tempera painting as a serious pursuit can afford to be without it.

This book provides a comprehensive introduction to modern auction theory and its important new applications. It is written by a leading economic theorist whose suggestions guided the creation of the new spectrum auction designs. Aimed at graduate students and professionals in economics, the book gives the most up-to-date treatments of both traditional theories of 'optimal auctions' and newer theories of multi-unit auctions and package auctions, and shows by example how these theories are used. The analysis explores the limitations of prominent older designs, such as the Vickrey auction design, and evaluates the practical responses to those limitations. It explores the tension between the traditional theory of auctions with a fixed set of bidders, in which the seller seeks to squeeze as much revenue as possible from the fixed set, and the theory of auctions with endogenous entry, in which bidder profits must be respected to encourage participation.

Catalogue for the exhibition, "Robert Vickrey: Master of Magic Realism," held at the Melvin & Burks Galleries at Florida Southern College, September 4 - November 4, 2015. Including critical essays and a full color catalogue of the 52 works in show.

Tempera was a primary medium for artistic expression in Europe in the 14th and 15th centuries. Milk and Eggs examines the American re-emergence of tempera painting in the mid-20th century. It experienced a renaissance in the work of a large number of mostly unconnected American artists, including Thomas Hart Benton, Paul Cadmus, Jacob Lawrence, and Andrew Wyeth among others.Milk and Eggs focuses on four centers where tempera painting was revived--Yale University School of Art, the Art Students League of New York, the studio of N. C. Wyeth in Chadds Ford, Pennsylvania, and the Kansas City Art Institute--and the historical, cultural, and philosophical factors that drove the revival, including the Great Depression and the Works Progress Administration. It also examines the medium in great detail, its materials and preparation, and arrives at a definition of tempera. Moreover, the results of extensive analysis of certain works of art is included..